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CHAPTER FOUR: RESEARCH METHODOLOGY Second cycle: In the second cycle, based on the findings of the first cycle, I investigated how the participants’ awareness of the artistic purpose and knowledge of tools can help in consciously creating DEs, gaps in dominant social narratives, in living through improvisations. I discuss the findings that this research question is based on and the question itself in detail as part of the data analysis in the next chapter. As Iwas exploring a focused element, the impact of the participants’ awareness of artistic purpose, the lessons implemented in this cycle depicted a more direct development. I tested how I could offer participants the conscious use of Bondian concepts and dramaturgical structures in the drama lessons. In this cycle I worked with a different age-group, students between the age of 15 and 20, and implemented the drama lessons in various situations, ranging from timetabled secondary school lessons to youth theatre clubs. The decision to work with a different age-group was made because I wanted to explore complex ideas in this cycle without having to deal with the issues arising from age that could diffuse the focus of the research. I conducted drama lessons with seven different groups, four groups participated in single session lessons and three groups took part in two session drama lessons. Altogether I conducted ten drama lessons in this cycle of research. The drama lessons were based on three different narratives, I discuss these in detail in the data analysis chapter as the narrative itself is an important subject of the research. The groups participating in this cycle of research were identified and invited by the researcher to participate in the investigation, so a variety of settings could be tested. Three out of the seven groups participated in the research in school settings; one of them was built into the timetable of the students; another one was an after-school opportunity that anyone could volunteer for; the third was a workshop offered in the framework of the ‘Cultural Day’ of the school. Three of the four sessions conducted outside schools were offered as part of a large theatre’s youth programme, while the fourth group was a youth theatre group working in a cultural centre. I will present theses details in the table below. I was only able to inform the group which was a full class about the details of the research personally, in all other cases I relied on online communication and offering the details in writing. Consent to participate in the research was received from all participants, and also from parents/guardians of participants under the age of eighteen. + 160 +
